The Shawshank Redemption

Wolverhampton Grand

STEPHEN King’s
short novella Rita
Hayworth and Shawshank Redemption
became an unexpected movie hit in 1994, with many regarding it as one of
the greatest films ever made.

The story of Andy Du Fresne, a Portland banker
given a life sentence for murder and his consequent close friendship
with fellow inmate, Red got off to something of a slow start at the box
office.

A second release and huge DVD sales propelled it
worldwide and guaranteed it a place in the Hollywood hall of fame.

No pressure, then, on the writers of this theatre
adaptation who have the unenviable task of meeting the sizeable
expectations of an audience so familiar with the film.

It may sound obvious, but the differences between
theatre and film are huge. They are two separate genres with their own
strengths and limitations. Anyone expecting a straight recreation of the
film would leave disappointed. It can’t be that, though, and nor should
it be.

Adaptors Owen O’Neil and Dave Johns have kept the
key elements of the original screenplay whilst creating more scenes of
reflection and expansion to suit the more limited stage surroundings.
What is shown, often graphically in the
film, can only be imagined on stage. In place of cleverly edited shots,
comes well constructed dialogue that serve the plot to equal effect.

Director, David Esbjornson, cleverly brings out
the main themes of the play with a stylised approach. Scenes take their
time (more so in Act 1) and there is no rush.

We are, after all, in a prison where time is
something the inmates have a lot of. On a stark, grey prison set, it’s
the characters that quite rightly dominate as their bleak surroundings
keep them locked in.

Ben Onwunke who shines as Red, the
get anything at a price lifer

That said, any depiction of life ‘inside’ must
include flashpoints and they not omitted here. The fights and sexual
brutality, all part of the day to day in prison, are included and
language, at times, is appropriately strong.

Gary McCann’s set conveys the bleakness of a
tired and functional prison building and serves both interior and
exterior locations. An overhead, upstage balcony gives an imposing
raised level. Flown in walls quickly provide cells and offices. It’s all
very efficient without being over elaborate or clever.

Ben Onwunke shines as Red, an inmate who can get
you whatever you want - for a price. Every prison has one, but probably
not as likable as Red. Onwunke delivers dialogue with measured pace and
sensitivity - helped in no small measure by his deep and powerful
timbre.

Part of the film’s appeal comes from the heart
stirring nature of Morgan Freeman’s narration. Here, this takes the form
of occasional direct addresses to the audience. Owunke handles these
beautifully.

As the central character, Andy Du Fresne, Paul
Nicholls brings an intelligent, thoughtful insight to a man convinced of
his innocence and waiting for his moment in the sun.

Jack Ellis oozes menace as Warden Stammas – a
weak man using the ‘Good Lord’ as an excuse to be as cruel as he
possibly wants. Comeuppance can’t come too soon for this odious
individual.

In a strong company, Daniel Stewart bullies to
good effect as Hadley – a chief guard with more brawn than brain and
Andrew Bowyer tugs at heartstrings as Brooksie, a gentle, old man unable
to cope with life outside prison.

Shawshank Redemption
will attract an audience on its title alone. There is a huge curiosity
factor. Not a bad starting point for getting bums on seats. Once you are
able to separate it from the film and treat it as a stand-alone piece of
drama, you will be drawn in by it.

Strong performances and a powerful story. It
might not be what you expected but you will be glad you came. To
01-10-16

Tom Roberts

27-09-16

. . . A note of praise too, for the Grand Theatre. Any
theatre experience, in my view, starts as you walk through the main
entrance. The best venues work hard on the experience they offer
customers and clearly The Grand knows this. A new front of house refurb,
mood lighting and an altogether more ‘theatrical’ feel make a real
difference . . .